It seems like a custom that week after week in these texts it is ensured that we are facing the best episode of the season. However, that’s how it works the house of the dragon and episode 8 is another example of it. Perhaps it is because the story, as it reaches more development, gives us more shocking moments. But above all I think that what makes this series so impressive and so effective are the creative minds that decide how to tell it.
With episode 8 of the house of the dragon We are facing an extremely emotional moment in the series, treated with a lot of darkness and a very shocking crudeness. Everything focuses on a character who throughout the season has functioned as the axis of the conflict and a kind of hourglass or bomb with a countdown. In addition to one of the most tragic kings we have ever met in George RR Martin’s stories translated to the screen.
The screenplay written by Eileen Shim treats him here with a devotion and sadness worthy of the works of Shakespeare. Episode after episode we have seen King Viserys, played splendidly by Paddy Considine, as a man broken down limb by limb and piece by piece. There are several things that consume the body and mind of him. His body decomposes from the constant poorly treated wounds caused by the Iron Throne. His mind breaks down from the burden of leading a kingdom, but above all from the sorrow of seeing his offspring broken from him and about to become extinct.
Everyone around him is involved and interested in issues of power. But King Viserys simply wants them to love each other, those whom he loves. episode 8 of the house of the dragon it is entirely his episode, because it also means his great farewell. The last thing this character manages to do in life will forever determine the future of his house. And he almost manages to save the disaster, but cruelly by the same voice of his the conflict in the end will be imminent.
For the lord of the tides again we are faced with a time jump. Rhaenyra’s (Emma D’Arcy) and Alicent’s (Olivia Cooke) children are no longer little. The Red Fortress is ruled by the queen and her father, who is the hand of the king. All this in the absence of the true monarch who is missing half a face and has become a bundle of bones constantly sedated with the milk of the poppy that spares him severe physical (and emotional) pain.
The conflict is set in motion as Lord Corlys Velaryon (Steven Toussaint) is dying from injuries sustained in the war. The succession for the reign of Driftmark again calls into question the blood of Rhaenyra’s children, so many believe they have a better claim to the governance of the house. The solution must be found in front of the Iron Throne where the ruling power of the Seven Kingdoms will decide which is the best option.
This provides the opportunity for another family reunion. And as the series has taught us so far, such meetings are unlikely to go well. This chapter more than any of the previous ones takes advantage of the viewer’s emotions and turns them against him. Because there is nothing crueler than showing hope just before snatching it away. This chapter is an expert in doing that because just when it is believed that the conflict will find its solution, the last and unfortunate minutes will make the confusion of an old man about to die, the war song that will define the seasons to come.
It is also emotional because the lord of the tides dismisses Paddy Considine’s character high. It is shocking to see the king of the Seven Kingdoms as a kind of corpse that is still breathing and can barely organize his thoughts and look up. However, he makes a final effort to try to put things right and above all to defend her daughter from the attacks that seek to make chaos of her succession.
The moment when he appears in the throne room to slowly and effortlessly walk to his place is extremely moving. The most important elements that make up this sequence are the performance of Considine and the music of Ramin Djawadi. An interesting point is that so far the music has been scarce and each appearance of his is very significant. The composer makes the right decision to allow the tension to breathe without the need for a manipulative conductor as music sometimes is.
On the other hand, the staging of certain moments is what makes this episode so valuable. Geeta Vasant Patel’s direction is quite effective. For many the fact that there is no action or physical confrontation makes something less enjoyable altogether. But the house of the dragon it is the opposite. It is about conversations behind closed doors, political framework, strategies full of intrigue and an emotional aspect that comes to light here more than ever.
Before the end, a private and family dinner takes place. There, a speech by Viserys is the one that takes center stage because it means the last great attempt to heal the scratches and scars. His effort is effective, the two most important pillars of this drama come to their senses and for a moment they look at each other with forgiveness and willingness to work together. The sadness of a lost friendship like that of Rhaenyra and Alicent suddenly weighs more heavily, with both even mourning the other’s departure.
However, we are in the world of Game of Thrones and hope quickly disappears from the hands of the viewer. The insertion of the Song of Ice and Fire prophecy, at first felt like something forced to try to connect this series with its predecessor. But in this episode it finds its place and even a deeper meaning. The promises of a divine being, the promises of someone who should be chosen and raised above others is also the catalyst for a quest for power that can destroy everything.
The final scene is forceful. Not only because of the way director Geeta Vasant Patel chooses to design it, but because it definitely marks the beginning of the dance of dragons. We are about to move on to the field of action and the major budgeted scenes. However, so far the road was beyond satisfactory. She showed that television also has its ways, sometimes even better ways, of coping with the quality seen on the big screen.
Although episode 8 of the house of the dragon lacks action or physical confrontation, its graceful narrative, its performances, the care of its script and those powerful and well-achieved emotional moments perhaps suggest that this series has already surpassed Game of Thrones.
New episodes arrive every Sunday on HBO Max.
Luis Angel H Mora My Hogwarts letter never came, so I focused my life on movies. I like to write, Harry Potter, Doctor Who and parties where I wear an astrologer. John Williams and The Killers musicalize the drama of my life.